A treatise on gaṇa who document wealth accounting

ledgers of Indus Script Corpora of 8000 inscriptions, व्रातं

व्रातं गणम् गणम् (RV 3.26.6)
The key factor (together with land (resources), labour and capital) conributing to the wealth
of bhārata of Veda times is a form of social economic organization
called gaṇa. This gaṇa organizational form is also called śreṇi or guild which predates the
Roman corporation by ca two millennia. श्रेणण f. ( L. also m. ; according to Un2. iv , 51 , fr. √ णश्र ;
connected with श्रेटी above ) a line , row , range , series , succession , troop , flock , multitude ,
number RV. &c; a company of artisans following the same business , a guild or association of

traders dealing in the same articles Mn. MBh. &c See:

Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šeṣ̄̃ ṭrĭ 'squirrel’ is
plaintext khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya
Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by
affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *śrēṣṭrī1 ʻ
clinger ʼ. [√śriṣ1]Phal. šeṣ̄̃ ṭrĭ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra,
'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šeṣ̄̃ ṭrĭ ʻ
flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of
a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi,
Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild,
banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild,
merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ,
H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ;
M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker,
nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šeṣ̄̃ ṭrĭ ʻ
flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi)
or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)

See: Vikramaditya Khanna, 2006, The Economic History of the Corporate Form in Ancient
India, in Seminar in Law and Economics, Harvard University
http://www.law.harvard.edu/programs/corp_gov/papers/2006sp-Speakers_Paper03_02-
21_Khanna.pdf
https://www.scribd.com/document/380906122/Economic-Hisory-of-Corporate-Form-in-Ancient-
India-Vikramaditya-Khanna-2006
Gaṇa are shown as kharva, 'dwarfs' on sculptures to signifya nidhi or treasure of
Kubera. खर्व mfn. (cf. /अ- , णि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7
Rebus: खर्व m. N. of one of the nine णिणिs or treasures of कुबेर L.
I suggest that the expression and metaphor of tāṇḍava nr̥tyam, the cosmic dance of णिर् is a
replication of the Soma samsthā yajña, to win the vasu, the wealths. The role of ताण्डर्-णिय णिर्,
णिर्'s door-keeper िन्दिि् of yajña is replicated on wealth accounting archives of Indus Script
Corpora.
An early form of dance is traceable to Rudra's dance.
Bhīṣma's treatise of Mahābhārata on gaṇa (appended) provides the theoretical framework
of Arthaśāstra on creation of a nation's wealth. This treatise demonstrates how the R̥gveda
narratives of Rudra, Marut, व्रातं व्रातं गणम् गणम् are the framework of metaphors in sculptures
and Indus Script Hypertexts to document how ancient bhārata contributed to 33% of World GDP
in 1 CE.

Rudra, in a dance pose. Maruts, Rudra.

tāṇḍava nr̥tyam is a frantic dance by Naṭarāja Śiva accompanied by his व्रातं व्रातं गणम्
गणम्. Many ancient sculptural friezes attest to this accompaniment.
YajñaVarāha, Indus Script hypertexts baḍhia, barāha, rebus baḍhi, bāṛaï ' worker in wood and
iron’
https://tinyurl.com/y9y2ubaw
http://earthbeforeflood.com/maruts_rudras.html
Maruts are described as having wheels of gold and rushing like boars with tusks of iron
(ayodaṁṣṭrān vidhâvato varâhûn). Association of Varāhu's tusk or tooth with ayo 'iron' is
significant in the context of Bronze Age metalwork metaphors abounding in ancient ākhyāna.
Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, िृतुुः nṛtuḥ 'dancer'
Mirror: inyurl.com/hcqfl2q

RV8.20.22 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the
mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is
ever (made known) at the regulated (sacrifice).
[quote]'In Hinduism,
the Marutas (/məˈrʊts/; Sanskrit: मरुत), also known as the Marutagana and sometimes
identified with Rudras, are storm deities and sons of Rudra and Prisni and attendants of Indra.
The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8). They are very
violent and aggressive, described as armed with golden weapons i.e. lightning and thunderbolts,
as having iron teeth and roaring like lions, as residing in the north, as riding in
golden chariots drawn by ruddy horses.
Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of
a rain-storm metamorphose into storm deities.
In the Vedic mythology, the Marutas, a troop of young warriors, are Indra's companions.
According to French comparative mythologist Georges Dumézil, they are cognate to
the Einherjar and the Wild hunt.
According to the Rig Veda, the ancient collection of sacred hymns, they wore golden helmets
and breastplates, and used their axes to split the clouds so that rain could fall. They were widely
regarded as clouds, capable to shaking mountains and destroying forests.
According to later tradition, such as Puranas, the Marutas were born from the broken womb of
the goddess Diti, after Indra hurled a thunderbolt at her to prevent her from giving birth to too
powerful a son. The goddess had intended to remain pregnant for a century before giving birth to
a son who would threaten Indra.'[unquote]
https://en.wikipedia.org/wiki/Maruts

मारुति [p= 812,1]m. (fr. मरुत् or मारुत) patr. of द् युताि RAnukr.; of भीम MBh; of हिुमत् Ka1v.
मरुि् [p= 790,2] m. pl. (prob. the " flashing or shining ones "
; cf. मरीणि and Gk. μαϕμαίϕω) the storm-gods (इन्द्र's companions and
sometimes e.g. Ragh. xii , 101 = दे र्ाुः , the gods or deities in general ; said in the र्ेद to be the
sons of रुद्र and पृ णि q.v. , or the children of heaven or of ocean ; and described as armed with
golden weapons i.e. lightnings and thunderbolts , as having iron teeth and roaring like lions , as
residing in the north , as riding in golden cars drawn by ruddy horses sometimes
called पृषतीुः q.v. ; they are reckoned in Naigh. v , 5 among the gods of the middle sphere , and
in RV. viii , 96 , 8 are held to be three times sixty in number ; in the later literature they are the
children of णदणत , either seven or seven times seven in number , and are sometimes said to be led
by मातररश्वि् ) RV. &c; the god of the wind (father of हिुमत् and regent of the north-west quarter
of the sky) Kir. Ra1jat. (cf. comp.); = ऋन्दिज् Naigh. iii , 18; gold ib. i , 2

RV 6.66
6.066.01 May the like-formed, benevolent, all-pervading, all humiliating troop (of the Maruts) be
promptly with the prudent man; the troop that ever cherishes all that among mortals is designed
to yield (them) advantage; and (at whose wil) Pr.s'ni gives milk from (her) bright udder once (in
the year). [That ever cherishes: marttes.u anyad dohase pi_pa_ya = tad ru_pam (maruta_m),
martyaloke anyad os.adhi vanaspatya_dikam ka_ma_n dogdhum a_ya_yagoti, that form of the
Maruts cause one or other thing in the world, herbaceous plants, forest trees, and the like, of
flourish, so as to milk or yield wht is desired; Pr.s'ni: implies the firmament, which, by the
influence of the winds, sends down its milk, i.e. rain, once, i.e. at the rainy season].
6.066.02 Unsoiled by dust the golden chariots of those Maruts, who are shining like kindled
fires, enlarging themselves (at will) twofold and threefold, and (charged) with riches and virile
energies, are manifest.
6.066.03 They (who are) the sons of the showerer Rudra, whom the nursing (firmamen is able) to
sustain, and of whom, the mighty ones, it is known that the great Pr.s'ni has received the germ
for the benefit (of man).
6.066.04 They who approach not to men any conveyance, being already in their hearts, purifying
their defects; when brilliant they supply their milk (the rain) for the gratification (of their
worshippers); they are watering the earth (manifesting their collective); from with splendour.
[Being already in their hearts: the Maruts are regarded as identical wit the Pra_n.a_h, vital airs].
6.066.05 Approaching nigh to whom, and repeating the mighty name of the Maruts, (the
worshipper is able) quickly to obtain (his wishes); the liberal donor pacifies the angry Maruts,
who are otherwise in their might the resistless plunderers (of their wealth). [He pacifies those na
ye stauna_ aya_so mahna_ nu cid, who now are thieves going with greatness verily ever].
6.066.06 THose fierce and powerfully arrayed (Maruts) unite by their strength the two beautiful
(regions) heaven and earth; in them, the self-radiant, heaven and earth abide; the obstruction (of
light) dwells not in those mighty ones. [Unite by their strength: by the rain, which may be said to
form a bond of union between heaven and earth].
6.066.07 May your chariot, Maruts, be devoid of wickedness; that which (the worshipper)
impels, and which without driver, without horses, without provender, without traces, scattering
water and accomplishing (desires), traverses heaven and earth and the paths (of the firmament).
6.066.08 There is no propeller, no obstructer, of him, whom, Maruts, you protect in battle; he
whom (you prosper) with sons, grandsons, cattle, and water, is in war the despoiler of the herds
of his ardent (foes). [Despoiler of the herds: sa vrajam darta_ pa_rye adha dyoh = sa gava_m
san:gham da_rayita_ san:gra_me dyoh; dyoh = vijigis.or va_ s'atroh, of one desirous to
overcome, or an enemy].
6.066.09 Offer to the loud-sounding, quick-moving, self-invigorating company of the Maruts,
excellent (sacrificial) food; (to them) who overcome strength by strength; the earth trembles,
Agni, at the adorable (Maruts).
6.066.10 The Maruts are resplendent as if iluminators of the sacrifice, (bright) as he flames of
Agni; entitled are they to donation, and like heroes making (adversaries) tremble; brilliant are
they from birth, and invincible.
6.066.11 I worship with oblations that exalted company of the Maruts, the progeny of Rudra,
armed with shining lances; the pure and earnest praises of the devout (adorer) are emulous in the
invigoration (of the Maruts), as the clouds (vie in the emission of the rain). [The pure and earnest
praises: divah s'ardha_ya s'ucayo manis.a_ girayo na_pa ugra_ aspr.dhran = of heaven of the
strength pure praises mountains like waters fierce have vied; divah = stotuh, of the praiser or
worshipper; s'ardha_ya = ma_ruta_ya, for the strength of the Maruts; giri = megha, a cloud].
मरुत्तः, पुं, (मरुदस्त्यस्येणत । मरुत् + “तप् पर्व्वमरुद्भ्याम् ।” ५ । २ । १२२ । इत्यि काणि-कोक्त्या तप् ।)
िन्द्रर्ंिीयराजणर्िेषुः । स िअर्ीणिद्राजपुत्त्रुः । यथा --क्रोष्टु णकरुर्ाि ।“अर्ीणितस्य िृपतेमवरुत्तस्य
महात्मिुः ।श्रोतुणमच्छाणम िररतं श्रूयते सोऽणतिेणितुः ॥िक्रर्त्ती महाभागुः िूरुः िान्तो महामणतुः
।िर्म्वणर्द्धर्म्वकृच्चैर् सम्यक् पालणयता भुर्ुः ॥माकवण्डे य उर्ाि स णपिा समिुज्ञातो राज्यं िाप्य णपतामहात्
।िर्म्वतुः पालयामास िजाुः पुत्त्राणिर्ौरसाि् ॥इयाज सुमहायज्ञाि् यथार्त् िाज्यदणिणाि्
।ऋन्दिक्पुरोणहतादे िादणिणर्वण्णो महीपणतुः ॥तस्यािणतहतं िक्रमासीद्द्र्ीपे षु सप्तसु ।गतयश्चाप्यणर्न्दच्छन्ाुः
स्वुःपातालजलाणदषु ॥”इणत माकवण्डे यपुराणे १०३ अध्यायुः ॥(यदु र्ंिीयुः करन्धमपुत्त्रुः । यथा, श्रीमद्भाग-र्ते ।
९ । २३ । १७ ।https://sa.wikisource.org/wiki/िब्दकल्पद्रु
मुःमरुि् पु० मृ उणत । १ र्ायौ अमरुः २ मरुर्के भार्ि० ३ दे र्े ४ ग्रन्दन्धपणे ि० मेणद० । ५ पृक्कायां स्त्री
िब्दर० ।स्वाथे िज्ञाद्यण् । मारुतोऽप्यि । पृषो० ह्रस्वुः ।मरुतोऽणप दे र्े ि र्ायौ ि व्याण ुः ।
https://sa.wikisource.org/wiki/र्ािस्पत्यम्
I submit that (dh)makara is a hypertext to signify a forge-bellows, blown by a blacksmith, to
smelt mineral ores. The term Emūṣa to signify Varāha is also a
hypertext: मूष [p= 827,2] m. f(आ and ई). a rat , mouse Pan5cat. L.
rebus: मूष, मूणषका [p= 827,2] a
crucible Ma1rkP. Kull. L. Emūṣa signifiesVarāha, mūṣa 'mouse'
signifies Vāhana of Tridhātu Gaṇeśa. Thus, Rudra, Marut gaṇa, Tridhātu Gaṇeśa & Emūṣa
Varāha are all hypertexts producing the wealth of the Bronze Age from
smelters/forges/foundries. They are also ādidaivikā, ādhyātmikā and cosmological metaphors
-- cosmic phenomena of storms, clouds, winds and meteors -- of unsurpassed excellence,
insights, in Chandas and other ancient texts such as Mahābhārata with ākhyāna as itihāsa -
- an abiding documentation of ancient traditions.

See: Tridhātu Gaṇeśa, Emūṣa Varāha are Marut-s, R̥bhu-s, a Rudra gaṇa, disgorged by
makara, Indus Script hypertexts https://tinyurl.com/y84r4oyr Tridhātu Gaṇeśa & Emūṣa
Varāha are Maruts, a Rudra gaṇa (offspring of Rudra) -- disgorged by makara -- working
with smelters, forge-blowers and iconographically depicted emerging out of the snout/breath
of hypertext: (dh)makara 'makara' rebus: dhmakara, 'forge-blower',dhamaka 'blacksmith'.
The breath of the makara is a metaphor for the winds blown from the bellows to increase the
intensity of the blazing fires and ignite the mere earth, the mineral ores in the smelter.
Maruts, sons of Rudra are the winds as R̥bhu-s, artisans, work to fashion the earth and
minerals into wealth. This is a cosmic dance enacted in the kole.l 'smithy, forge' which
is kole.l 'temple.

dhmakara 'forge-blower' is makara, the hypertext iconograph.

See: Indus Script hypertext makara rebus dhmakara ‘forge-blower, blacksmith’ is a divine
signifier of wealth, nidhi
https://tinyurl.com/yb2nabnf

Monument/Object: sculpture
Current Location: Indian Museum, Kolkata, West Bengal, India
Subject: Varuna, on makara
Photo Depicts: front
Monument/Object: sculpture
Current Location: Indian Museum, Kolkata, West Bengal, India
Subject: Varuna, on makara
Photo Depicts: front

Location: Bharhut Village, Satna Dt.,

Madhya Pradesh, India
Site: Bharhut Village
Monument/Object: Bharhut Stupa,
architectural fragment, vedika (railing)
Current Location: Bharat Kala Bhavan,
Varanasi, Uttar Pradesh, India
Subject: elephant, with fishtail
Photo Depicts: roundel
Date: 2nd - 1st century BCE
 Religious Affiliation: Buddhist
Material: stone
Scan Number: 11598
Photo Date: 1984
Image Source: Huntington Archive

See: Gaṇeśa in िािण्यािा फ , nach house, is phaḍakarī leader of गण, a metalwork artisan
guild https://tinyurl.com/y885zy5a

aṣṭmtr̥kā (including Vārāhī वाराही) and Skanda, Gaṇeśa in dance-step

Lintel. Provenance: Cambodia, Kompong Thom Province, Sambor Prei Kuk S7. Style by
Sambor Prei Kuk. First half of the 7th century.Detail showing the edge of the lintel and a
Marut, god of the storm and wind. Guimet Museum, Paris.
Location: India
Site: India
Monument/Object: architectural fragment,
torana, relief sculpture
Current Location: Government Museum,
Mathura, Uttar Pradesh, India
Subject: makara, swallowing (or
regurgitating) human
Photo Depicts: side 2 (arbitrary)
Period: Kusana (India)
Date: 30 - 375 CE
Material: sandstone, pink
Scan Number: 900
Photo Date: 1969
Copyright: Huntington, John C. and Susan
L.
Image Source: Huntington Archive
Location: Mathura Dt., Uttar Pradesh, India
Site: Mathura Dt.
Monument/Object: architectural fragment, possibly a coping
Current Location: Government Museum, Mathura, Uttar Pradesh, India
Subject: naga-man, emerging from mouth of makara
Date: ca. 2nd - 5th century CE
Material: stone
Scan Number: 27382
Copyright: Huntington, John C. and Susan L.

Location: Chiang Saen District, Chiang Rai Province, Thailand

Site: Chiang Saen District
Monument/Object: Wat Pa Sak, sculpture
Current Location: same as site location
Subject: makara, with elephant
Locator Information: upper section of chedi
Period: Chiang Saen Period
Date: 1319 CE
Religious Affiliation: Buddhist
Scan Number: 55435
Image Source: ACSAA

Location: Bodh Gaya, Gaya Dt., Bihar State, India

Site: Bodh Gaya
Monument/Object: Mahabodhi Temple complex, architectural fragment, vedika (railing),
pillar fragment
Current Location: Bodh Gaya Site Museum, Bodh Gaya, Bihar, India
Subject: male figure, seated on makara
Photo Depicts: side 2, upper roundel
Period: Sunga and Related Periods
Date: 2nd - 1st century BCE
Religious Affiliation: Buddhist
Material: stone
Scan Number: 11725
Photo Date: 1984
Image Source: Huntington Archive
Location: India
Site: India
Monument/Object: architectural fragment,
torana, relief sculpture
Current Location: Allahabad Municipal
Museum, Allahabad, Uttar Pradesh, India
Subject: Gaja Laksmi, bull, makara, gana,
and other figures, vegetal svastika motif and
gana
Photo Depicts: 2nd section from left, vegetal
svastika motif and gana
Period: Sunga and Related Periods
Date: 2nd - 1st century BCE
Material: sandstone, beige
Scan Number: 11549
Photo Date: 1984
Image Source: Huntington Archive

Marut-s as Rudra-s, नृिु m. (nom. /ऊस् ) a dancer , an actor RV. &c

A major wealth-producing activity of Bhāratam Janam has been metalwork. This

monograph suggests that the forms of Gaṇeśa pratimā evolve in Indus Script hypertext
tradition to document wealth-producing metalwork.

फ करी phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A
superintendent or master of a फ or public place. See under फ . 3 A retail-dealer (esp. in
grain). फ झ ती phaḍajhaḍatī f sometimes फ झा णी f A clearing off of public business (of
any business comprehended under the word फ q. v.): also clearing examination of
any फ or place of public business. (Marathi)

गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate
beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities
(especially certain troops of demi-gods considered as णिर्'s attendants and under the special
superintendence of the god गणे*ि ; cf. -दे र्ता) Mn. Ya1jn5. Lalit. &c; a company , any
assemblage or association of men formed for the attainment of the same
aims Mn. Ya1jn5. Hit. (in summary, a
guild).
Gaņā or hosts of Bŗihaspathi—
Brahmaņaspathi are venerated:

gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam | jyeṣṭharājam

brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||RV_2,023.01|| This
veneration of the leader of the guild posits Gaṇeśa as a Vedic divinity of the highest order,
the leader of the heavenly bands and a sage (kavi) among sages.
sa suṣṭubhā sa ṛkvatā gaṇena valaṃ ruroja phaligaṃ raveṇa | bṛhaspatir usriyā havyasūdaḥ
kanikradad vāvaśatīr ud ājat ||RV 4,050.05 ||

गण, also signify hosts of divine beings. Indra is a leader of the gana of Maruts.

ni ṣu sīda gaṇapate gaṇeṣu tvām āhur vipratamaṃ kavīnām | na ṛte tvat kriyate kiṃ canāre
mahām arkam maghavañ citram arca ||RV_10,112.09||

[quote] The mantra ‘namo Gaṇebhyo gaṇapathibyasha vo namo’ (16-25) that occurs
in Śukla Yajurveda samhita refers to ganas, in plural, and says: salutations to you, Gaṇas
and to the Lord of the Ganas. This mantra appears also in the Rudra praśnam (4.1.5) and in
the Maitrāyaṇī Samhitā (2,9.4). Gaṇa in these contexts signifies a group of people as also a
collection of mantras.

namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo

namaḥ kṛchrebhyaḥ kṛchrapatibhyaś ca vo namo namo virūpebhyo viśvarūpebhyaś ca vo
namo namaḥ senābhyaḥ senānībhyaś ca vo namo namo rathibhyo varūthibhyaś ca vo namo
namaḥ kṣattṛbhyaḥ saṃgrahītṛbhyaś ca vo namo namo bṛhadbhyo ‘rbhakebhyaś ca vo namo
namo yuvabhya āśīnebhyaś ca vo namo namaḥ //MS_2,9.4//
The Taittirīya Samhitā interprets Gaṇas as paśus (the beasts of Śiva). They are the Gaṇas of
Shiva — Rudrasya Ganapathyam .There were also Bhuta ganas, the weird and grotesque
looking guards of Shiva. Thus, Shiva the Paśupathi; and Śiva the Bhūtanāth was also a
Gaṇapathi.[unquote] https://sreenivasaraos.com/tag/ganesha
 Dancing Ganesha, Gangaikonda-cholapuram, Tamil Nadu, 11th century CE.

Dancing Gaṇeśa in relief at Hoysaleshwara temple, Halebidu

A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural
fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva
Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree
encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government
Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter
indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree
ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of
tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ
stick ʼ IIFL iii 3, 98. (CDIAL 3228)

Relief with Ekamukha linga. Mathura. 1st cent. CE

(Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is
embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph:
kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used
for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake'
rebus: meḍ 'iron, metal' (Ho. Munda). मे (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मे का m A
stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a
short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked.
2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ)
A small bifurcated stake: also a small stake, with or without furcation, used as a post to
support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person
considered as the pillar, prop, or support (of a household, army, or other body),
the staff or stay. मेढेजोिी (p. 665) [ mēḍhējōśī ] m A stake-जोिी; a जोिी who keeps account
of the णतणथ &c., by driving stakes into the ground: also a class, or an individual of it, of
fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are
Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as
a stake) जोिी of a village.मेंिला (p. 665) [ mēndhalā ] m In architecture. A common term for
the two upper arms of a double िौकठ (door-frame) connecting the two. Called
also मेंढरी & घो ा. It answers to णिली the name of the two lower arms or connections.
(Marathi)
मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)
The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography
with elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron'
(Santali) kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk
engaged with पोतृ pōtṟ 'purifier priest' to signify dhā̆ vaḍ, dhamaga 'smelter, blacksmith'
working in alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes
signifies: dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'.
Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D.
Stampe's Munda etyma)Ta. meṭṭu (meṭṭi-) to spurn or push with the foot. Ko. meṭ- (mec-
) to trample on, tread on; meṭ sole of foot, footstep, footprint. To. möṭ- (möṭy-) to trample
on; möṭ step, tread, wooden-soled sandal. Ka. meṭṭu to put or place down the foot or feet,
step, pace, walk, tread or trample on, put the foot on or in, put on (as a slipper or
shoe); n. stepping, step of the foot, stop on a stringed instrument; sandal, shoe, step of a
stair; meṭṭisu to cause to step; meṭṭige, meṭla step, stair. Koḍ. moṭṭï footprint, foot measure,
doorsteps. Tu. muṭṭu shoe, sandal; footstep; steps, stairs. Te meṭṭu step, stair, treading,
slipper, stop on a lute; maṭṭu, (K. also) meṭṭu to tread, trample, crush under foot, tread or
place the foot upon; n. treading; maṭṭincu to cause to be trodden or
trampled. Ga. (S.3) meṭṭu step (< Te.). Konḍa maṭ- (-t-) to crush under foot, tread on, walk,
thresh (grain, as by oxen); caus.maṭis-. Kuwi (S.) mettunga steps. Malt. maḍye to trample,
tread. (DEDR 5057)

Marut-gaṇa including Gaṇeśa & Varaha on a sculptural panel. Kailasanatha

Temple,Kanchipuram.
Dancing dwarves, gaṇa.
Candi-Sukuh Gaṇeśa is shown in a dance-step, in the context of smelting, forging of sword
by Bhima and by the bellows-blower Arjuna. The building in the background is a
smelter/forge.

The dance step of Ganesa (elephant head

ligatured to a dancing person) on Candi Sukuh frieze is also explained by the gloss: meD
'dance step' rebus: meD 'iron'.

The association of Gaṇeśa with iron-working gives him the name tri-dhātu 'three minerals'
wich are:
goṭa 'laterite, ferrite ore' poḷa 'magnetite, ferrite ore' bicha 'haemtite, ferrite ore'. These three
ferrite ores are signified by the hieroglyphs: goṭa 'round pebble stone' poḷa 'zebu, dewlap,
honeycomb' bica'scorpion'.

Gaṇeśa is signified as part of Marut गण[p= 343,1] troops or classes of inferior deities
(especially certain troops of demi-gods considered as णिर्'s attendants and under the special
superintendence of the god गणे*ि ; cf. दे र्ता) Mn. Ya1jn5. Lalit. &c; m. a flock , troop ,
multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers
or attendants RV. AV. &c.
Source:
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-
3958_1992_num_47_1_1330

The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of
ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava
bera denotes that processions of the type shown on Mesopotamian cylinder seals or
Mohenjo-daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions
with hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that
the utsava bera of Ganesa is shown together with a rat or mouse -- as vāhana: ibha 'elephant'
Rebus: ib 'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'. Thus both rat/mouse and elephant
face ligatured to a body, are Meluhha hieroglyphs related to metallurgical processes.
sangaDa 'joined animals' rebus: sangara 'proclamation': karibha 'elephant trunk' (Pali) Rebus:
karba 'iron' (Tulu) ib 'iron' (Santali) kara 'trunk of elephant' Rebus: khAr 'blacksmith' ranga
'buffalo' Rebus: ranga 'pewter'. kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron'
kole.l 'smithy, temple' kolimi 'smithy, forge'.
http://bharatkalyan97.blogspot.in/2013/07/bhirrana-8th-millennium-bce-on-river.html

Location: Amaravati, Guntur Dt., Andhra

Pradesh, India
Site: Amaravati
Monument/Object: sculpture
Current Location: Madras Government
Museum, Madras, Tamil Nadu, India
Subject: Sankhanidhi, with purse of coins in
left hand
Period: Satavahana
Date: ca. late 2nd - 3rd century CE
Religious Affiliation: Buddhist
Material: marble, white
Scan Number: 26927
Copyright: Huntington, John C. and Susan
L.
Location: Amaravati, Guntur Dt., Andhra
Pradesh, India
Site: Amaravati
Monument/Object: relief sculpture, fragment
Current Location: Madras Government
Museum, Madras, Tamil Nadu, India
Subject: gana, dancing
Photo Depicts: front
Period: Satavahana
Date: ca. 2nd century CE
Religious Affiliation: Buddhist
Material: marble, white
Scan Number: 27734
Copyright: Huntington, John C. and Susan
L.

meḍ 'dance-step' rebus: meḍ 'iron'

Why are dwarfs shown on Begram ivories, Bharhut, Sanchi, Mathura sculptures and stone
reliefs? The reason is the Indian sprachbund gloss: kharva which means 'dwarf'. The rebus-
metonymy-layered rendering reads: kharva 'a navanidhi, a treasure, wealth' (one of nine
nidhis or nine treasures of Kubera). The dwarf image is also used to denote gaNa of Siva or
Rudra.

खर्व (-बव) a. [खर््व -अि् ] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7. -2 Dwarfish, low,
short in stature. -र्वुः, -र्वम् A large number (1,,,). -3 N. of one of the treasures of Kubera. -
Comp. -इतर a. not small, great; िमुणदतहृदुः सर्े खर्ेतरस्मयसंगताुः Śiva. B.22.71. -
िाख a. dwarfish, small, short.खणर्वत kharvita खणर्वत a. (anything) That has become dwarfish;
णििुम्भभरिम्रोर्ीखणर्वताुः पर्वता अणप Ks.51.1.

खार्ाव khārvā The Tretā age or second Yuga of the world. (Samskritam)

Rebus: खर्वटुः kharvaṭḥ टम् ṭam खर्वटुः टम् [खर््व -अटि् ] 1 A market-town. -2 A village at the
foot of a mountain; this word generally occurs joined with खेट; Bhāg.1.6.11;4.18.31;7.2.14;
ििुुःितं परीणाहो ग्रामे िेिान्तरं भर्ेत् । द्वे िते खर्वटस्य स्यान्गरस्य ितुुःितम् ॥ Y.2.167. Mitākṣarā
says खर्वटस्य ििुरकण्टक- सन्तािस्य ग्रामस्य खर्वटाणि कुिगराणण । (ििव्याकरणसूिव्याख्यािे ). -
3 A mixed locality on the bank of river, partly a village and partly a town (according to the
text of Bhṛigu, quoted in Shrīdharasvāmin's commentary on the Bhāg.); cf.
Rājadharmakaustubha, G. O. S.72, p.13. -4 A principal village among two hundred ones
(Dānasāgara, Bibliotheca Indica 274, Fasc. I, p.145); cf. also दण्डणर्र्ेक, G. O. S.52, p.277.

Hieroglyph: gaNa, 'dwarf' Rebus: gaNa is a guild. Accoding to NaighaNTu, gaNa is speech,
Mleccha, Meluhha speech as distinct from chandas, prosody: m. = र्ाि् (i.e. " a series of
verses ") Naigh. i , 11

Sunga. Kubera. National Museum, Delhi

Location: Amaravati, Guntur Dt., Andhra Pradesh, India
Site: Amaravati
Monument/Object: coping fragment, relief sculpture
Current Location: Madras Government Museum, Madras, Tamil Nadu, India
Subject: ganas and elephant
Period: Satavahana
Date: ca. mid-2nd - 3rd century CE
Religious Affiliation: Buddhist
Material: marble, white
Scan Number: 27084
Copyright: Huntington, John C. and Susan L.
Association of karba 'elephant' with gaṇa = kharva 'dwarfs' rebus: karba 'iron'.
A Dancing gana, Daśāvatāra
temple, Deogarh

Dancing gaṇa of Badami

caves.
Badami. Entrance of Cave 1. Nataraja next to panels of dancing gaṇa
Panels of dancing gaṇa. Badami caves.
Badami caves.
Pattadakal Wall Carving Nataraja
Pattadakal Nataraja

6th-century Nataraja in Cave 21, Ellora Caves

Nataraja and a panel of dancing gaṇa.

Dancing Dwarf or Gana, attendant of Kutera, god of wealth,

Museum of the Rock temple of Isurumuniya, Anuradhapura Sri Lanka
Sculpture on the wall of Nataraja Temple Chidambaram
Shiva Nataraja castle lintel of Phanomrung historical park in Buriram, Thailand
https://www.shutterstock.com/search/nataraja+temple?searchterm=nataraja%20temple&lang
uage=en&page=2
णिर्'s dance after Gajasura is vanquished. SriMukhalingam temple. 8th century CE. Built by
Kamarnava II of Eastern Ganga dynasty of Orissa
Nataraja Sirpur, Chattisgarh
Ravanaphadi Cave. Aihole. 6th cent. Dancers Nataraja, with Gaṇeśa
 Matrika-s including Varahi are also dancing on the
adjacent panel of Ravanaphadi
.

Dancers. Mahakuta Temples,

Badami, Karnataka
Badami, cave 1, Nataraja, with Gaṇeśa, in a dance step; Nataraja Sculpture of God Shiva in
the form of Divine Dancing.Sculptures from Mahabalipuram ,Tamil naduReliefs of dancing
Gana, 17th century CE https://www.alamy.com/stock-photo-a-dancing-god-deity-
76111694.html

Nataraja in Avanibhajana Pallaveshwaram temple

ताण्डर् mn.(g. अिविाव *णद ; fr. तण्डु ?) dancing (esp. with violent gesticulation) , frantic dance
(of णिर् and his votaries) मालतीमािर्, कथासररत्सागर, भागर्त-पुराण, x; मत्स्य-
पुराण, राजतरं णगणी &c (cf. Religious Thought and Life in India, also called ' ब्राह्मि् ism and
णहन्दू ism,' by Sir M. Monier-Williams, p.84); ताण्डर्--° ताणलक m. " dancing and clapping the
hands (fr. ताल) " , णिर्'s door-keeper िन्दिि् ; ताण्डर्--णिय m. " fond of the ताण्डर् dance "
, णिर् (Monier-Williams)

tāṇḍiḥ तान्दण्डुः The science of dancing. tāṇḍavḥ र्म् vam ताण्डर्ुः र्म् 1 Dancing in general;
मदताण्डर्ोत्सर्ान्ते U.3.18; भ्रू ˚ dance or playful movement of the eye- brows; 3.19. -
2 Particularly, the frantic or violent dance of Śiva; त्र्यम्बकािन्दि र्स्ताण्डर् दे णर् भूयादभीष्यै ि
हृष्यै ि िुः Māl.5.23;1.1. -3 The art of dancing. -4 A sort of grass. -5 (In prosody) A foot of
three short syllables. -Comp. -ताणलकुः an epithet of Nan- din, the door-keeper of Śiva. -
णियुः N. of Śiva. tāṇḍavita ताण्डणर्त a. 1 Dancing, made to dance; Māl.2. -2 Moving round in
a wild dance; U.5.36. -3 Fluttering; P. R.1.34. -4 Frowning (Apte)

िाण्डवं, क्ली, पुं, िृत्यम् । इत्यमरुः । १ । ७ । १० ॥ ताण्डे ि मुणििा कृतं तान्दण्ड िृ त्यिास्त्रं तद-स्यास्तीणत
। इणत भरतुः ॥ तण्डु िा िोक्तणमणतस्वामी ॥(“पुंिृत्यं ताण्डर्ं िाहुः स्त्रीिृत्यं लास्यमुच्यते ॥”इणत
िब्दाथवणिन्तामणणिृतर्ििेि पुंिृत्यम् ॥)तृणणर्िेषुः । उद्धतिृत्यम् । इणत मेणदिी । र्े,३६ ॥ (यथा,
मत्स्यपुराणे । १ । १ ।“ििण्डताण्डर्ाटोपे िणिप्ता येि णदग्गजाुः ।भर्न्तु णर्घ्नभङ्गाय भर्स्य िरणाम्बुजाुः
॥”)
िाण्डविातिकः, पुं, (ताण्डर्े णिर्िृत्यकालेयस्तालुः स कार्य्वतयास्त्यस्येणत । ठि् ।) ििी ।स णिर्द्वारी
। इणत णिकाण्डिेषुः ॥
िाण्डवतियः, पुं , (ताण्डर्ं उद्धतिृत्यं णियमस्य ।)णिर्ुः । इणत िब्दमाला
॥ https://sa.wikisource.org/wiki/िब्दकल्पद्रुमुः
gaṇa गण

Sculpture of a Gana on the ceiling of the Shiva

Temple in Bhojpur, India.
Gaṇatantra (republic) system of rule means a state run by peoples' assemblies.
The story of creation of Virabhadra from the Shiva's lock and destruction
of Daksha by Virabhadra and his ganas are popular stories from the Puraṇas.
RV 3.26.6 refers to Gaṇa in the context of Marut-s: व्रातं व्रातं गणम् गणम् Vrātam Vrātam
gaṇam gaṇam In this expression, व्रात signifies a particular form of assembly, a
guild. व्रात m. (connected with √1. र्ृ , or with व्रत् /अ and √2. र्ृ ) a multitude , flock ,
assemblage , troop , swarm , group , host (व्र् /आतं व्रातम् , in companies or troops ; प् /अञ्च
व्र्/आतास् , the five races of men) , association , guild RV. &c; n. manual or bodily labour ,
day-labour (Monier-Williams)
RV 3.26.4-6 as prayer to Maruts is explained : 4 Let them go forth, the strong, as flames of
fire with might. Gathered for victory they have yoked their spotted deer. Pourers of floods,
the Maruts, Masters of all wealth, they who can Never be conquered, make the
mountains shake. 5 The Maruts, Friends of men, are glorious as the fire: their mighty and
resplendent succour we implore. Those storming Sons of Rudra clothed in robes of rain,
boongivers- of good gifts, roar as the lions roar. 6 We, band on band and troop following
troop, entreat with fair lauds Agnis' splendour and theMaruts' might.
This prayer to Maruts is a prayer also to gaṇa are vrāta. The repetition of the two
words, indicates that both gaṇa are vrāta are guilds or associations of people and both gaṇa
are vrāta participate in the performance of yajña.
RV 3.26.Griffith translation: 1. REVERING in our heart Agni Vaisvanara, the finder of the
light, whose promises are true,
The liberal, gladsome, carborne- God we Kusikas invoke him with oblation, seeking wealth
with
songs.
2 That Agni, bright, Vaisvanara, we invoke for help, and Matarisvan worthy of the song of
praise;
Brhaspati for mans' observance of the Gods, the Singer prompt to hear, the swiftlymoving-
guest.
3 Age after age Vaisvanara, neighing like a horse, is kindled with the women by the Kusikas.
May Agni, he who wakes among Immortal Gods, grant us heroic strength and wealth in
noble steeds.
4 Let them go forth, the strong, as flames of fire with might. Gathered for victory they have
yoked their spotted deer.
Pourers of floods, the Maruts, Masters of all wealth, they who can Never be conquered,
make the
mountains shake.
5 The Maruts, Friends of men, are glorious as the fire: their mighty and resplendent succour
we
implore.
Those storming Sons of Rudra clothed in robes of rain, boongivers- of good gifts, roar as the
lions roar.
6 We, band on band and troop following troop, entreat with fair lauds Agnis' splendour and
the
Maruts' might,
With spotted deer for steeds, with wealth that never fails, they, wise Ones, come to sacrifice
at
our gatherings.
7 Agni am I who know, by birth, all creatures. Mine eye is butter, in my mouth is nectar.
I am light threefold, measurer of the region exhaustless heat am I, named burntoblation-.
8 Bearing in mind a thought with light accordant, he purified the Sun with three refinings;
By his own nature gained the highest treasure, and looked abroad over the earth and heaven.
9 The Spring that fails not with a hundred streamlets, Father inspired of prayers that men
should
utter,
The Sparkler, joyous in his Parents' bosorn, him-, the Truthspeaker-, sate ye, Earth and
Heaven.
मरुि् m. pl. (prob. the " flashing or shining ones " ; cf. मरीणि and Gk. μαϕμαίϕω)
the storm-gods (इन्द्र's companions and sometimes e.g. Ragh. xii , 101 =दे र्ाुः , the gods or
deities in general ; said in the र्ेद to be the sons of रुद्र and पृणि q.v. , or the children of
heaven or of ocean ; and described as armed with golden weapons i.e. lightnings and
thunderbolts , as having iron teeth and roaring like lions , as residing in the north , as riding
in golden cars drawn by ruddy horses sometimes called पृषतीुः q.v. ; they are reckoned
in Naigh. v , 5 among the gods of the middle sphere , and in RV. viii , 96 , 8 are held to be
three times sixty in number ; in the later literature they are the children of णदणत , either seven
or seven times seven in number , and are sometimes said to be led by मातररश्वि् ) RV. &c
gaṇḥ गणुः -द्रव्यम् public property, common stock; Y.2.187. -2 a variety of articles.
गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate
beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities
(especially certain troops of demi-gods considered as णिर्'s attendants and under the special
superintendence of the god गणे*ि ; cf. -दे र्ता) Mn. Ya1jn5. Lalit. &c
गणे* श m. (= °ण-िाथ) N. of the god of wisdom and of obstacles (son of णिर् and पार्वती , or
according to one legend of पार्वती alone ; though गणे *ि causes obstacles he also removes
them ; hence he is invoked at the commencement of all undertakings and at the opening of
all compositions with the words िमो गणे *िाय णर्घ्ने *श्वराय ; he is represented as a short fat
man with a protuberant belly , frequently riding on a rat or attended by one , and to denote
his sagacity has the head of an elephant , which however has only one tusk ; the
appellation गणे *ि , with other similar compounds , alludes to his office as chief of the
various classes of subordinate gods , who are regarded as णिर्'s attendants ; cf. RTL. pp. 48 ,
62 , 79 , 392 , 440 ; he is said to have written down the MBh. as dictated by व्यास MBh. i , 74
ff. (Monier-Williams)

Bhīṣma's treatise of Mahābhārata on gaṇa, a treatise on gaṇa creating a nation's

wealth

Note: The word is Gaṇa (translated as aristocracy fo wealth). The word literally means an
assemblage. There can be no doubt that throughout this lesson the word has been employed
to denote the aristocracy of wealth and blood that surround a throne.

Book 12: Santi Parva

Kisari Mohan Ganguli, tr.

[1883-1896]

The Santi Parva is a huge interpolation in the Mahabharata, in the genre known as 'wisdom
literature.' The narrative progression is placed on hold almost from the first page. Instead we
get a long and winding recapitulation of Brahmanic lore, including weighty treatises on
topics such as kingcraft, metaphysics, cosmology, geography, and mythology. There are
discussions of the Sankya and Yoga philosophical schools, and mentions of Buddhism. It is
apparent that the Santi Parva was added to the Mahabharata at a later time than the main
body of the epic.
PRODUCTION NOTES: (11/30/2004) The printed edition we used divides this book
into three (apparently arbitrary) parts. Note that each part's page numbering starts at
page one, so if you cite a page number in this etext for some reason, you will also need
to cite the part. There was no 'Section CCCCLXIV' in the source edition I used. --John
Bruno Hare.

The Mahabharata in Sanskrit

Book 12
Chapter 108
1 [य]
बराह्मणिणियणर्िां िूद्राणां ि परं तप
िमम व र्ृत्तं ि र्ृणत्ति ि र्ृत्त्युपायफलाणि ि
2 राज्ञां र्ृत्तं ि कमिि ि कमिसंजििं महत
अमात्यगुणर्ृन्दद्धि ि परकृतीिां ि र्िविम
3 षा ् गुण्य गुणकल्पि ि सेिा िीणतस तथैर् ि
दु िस्य ि पररज्ञािम अदु िस्य ि लिणम
4 समहीिाणिकािां ि यथार्ल लिणमच्चयुः
मध्यमस्य ि तुष्यथं यथा सथेयं णर्र्िवता
5 कषीणसंग्रह र्ृणत्ति ि यथार्त संिकीणतवता
लभुिादे ि रूपेण गरन्थ यमगेि भारत
6 णर्णजगीषमस तथा र्ृत्तम उक्तं िैर् तथैर् ते
गणािां र्ृणत्तम इच्छाणम िरमतुं मणतमतां र्र
7 यथा गणाुः परर्िवन्ते ि णभद्यन्ते ि भारत
अरीि णह णर्णजगीषन्ते सुहृदुः पराप्नु र्न्दन्त ि
8 भेदमूलम णर्िािम णह गणािाम उपलभ्यते
मन्त्रसंर्रणं दु ुःखं बहूिाम इणत मे मणतुः
9 एतद इच्छाम्य अहं िरमतुं णिन्दखलेि परं तप
यथा ि ते ि णभद्येरंस ति ि मे बरूणह पाणथवर्
10 [भ]
गणािां ि कुलािां ि राज्ञां ि भरतषवभ
र्ैरसंदीपिार् एतौ लमभामषौ जिाणिप
11 लमभम एकम णह र्ृणुते ततम ऽमषवम अिन्तरम
तौ कषयव्यय संयुक्तार् अन्यमन्यजणिताश्रयौ
12 िारमन्त्रबलादािैुः सामदािणर्भेदिैुः
कषयव्यय भयमपायैुः किवयन्तीतरे तरम
13 ति दािेि णभद्यन्ते गणाुः संघातर्ृत्तयुः
णभन्ा णर्मिसुः सर्े गच्छन्त्य अररर्िं भयात
14 भेदाद गणा णर्िश्यन्दन्त णभन्ाुः सूपजपाुः परै ुः
तस्मात संघातयमगेषु परयतेरि गणाुः सदा
15 अथाव हय एर्ाणिगम्यन्ते संघातबलपौरुषात
 बाह्याि ि मैिीं कुर्वन्दन्त तेषु संघातर्ृणत्तषु
16 जञािर्ृद्धाि परिंसन्तुः िुश्रूषन्तुः परस्परम
णर्णिर्ृत्ताणभसंिािाुः सुखम एिन्दन्त सर्विुः
17 िणमवष्ठाि र्यर्हारां ि ि सथापयन्ति ि िास्त्रतुः
यथार्त संिर्तवन्तम णर्र्िवन्ते गणमत्तमाुः
18 पुिाि भरातॄि णिगृह्णन्तम णर्िये ि सदा रताुः
णर्िीतां ि ि परगृह्णन्तम णर्र्िवन्ते गणमत्तमाुः
19 िारमन्त्रणर्िािेषु कमिसंणिियेषु ि
णित्ययुक्ता महाबाहम र्िवन्ते सर्वतम गणाुः
20 पराज्ञाञ िूराि महे ष्वासाि कमवसु सणथरपौरुषाि
माियन्तुः सदा युक्ता णर्र्िवन्ते गणा िृप
21 दरव्यर्न्ति ि िूराि ि िस्त्रज्ञाुः िास्त्रपारगाुः
कृच्छरास्व आपत्सु सं मूढाि गणाि उत्तारयन्दन्त ते
22 करमिम भेदम भयम दण्डुः किविं णिग्रहम र्िुः
ियन्त्य अररर्िं सद्यम गणाि भरतसत्तम
23 तस्माि मािणयतव्यास ते गणमुख्याुः परिाितुः
लमकयािा समायत्ता भूयसी तेषु पाणथवर्
24 मन्त्रगुन्दप्तुः परिािेषु िारि िाणमिकिवि
ि गणाुः कृत्स्निम मन्त्रं िरमतुम अहव न्दन्त भारत
25 गणमुख्यैस तु संभूय कायं गणणहतं णमथुः
पृथग गणस्य णभन्स्य णर्मतस्य ततम ऽियथा
अथाव ुः परत्यर्सीदन्दन्त तथािथाव भर्न्दन्त ि
26 तेषाम अन्यमन्यणभन्ािां सर्िन्दक्तम अिुणतष्ठताम
णिग्रहुः पन्दण्डतैुः कायवुः कणषिम एर् परिाितुः
27 कुलेषु कलहा जाताुः कुलर्ृद्धैर उपेणिताुः
गमिस्य राजि कुर्वन्दन्त गणसंभेद काररकाम
28 आभ्यन्तरं भयं रक्ष्यं सुरक्ष्यं बाह्यतम भयम
अभ्यन्तराद भयं जातं सद्यम मूलं णिकृन्तणत
29 अकस्मात करमिलमभाद र्ा ममहाद र्ाणप सर्भार्जात
अन्यमन्यं िाणभभाषन्ते तत्पराभर् लिणम
30 जात्या ि सदृिाुः सर्े कुलेि सदृिास तथा
ि तु िौयेण बुद्ध्या र्ा रूपद्रव्येण र्ा पुिुः
31 भेदाि िैर् परमादाि ि िाम्यन्ते ररपुणभर गणाुः
तस्मात संघातम एर्ाहर गणािां िरणं महत
1 [y]
brāhmaṇakṣatriyaviśāṃ śūdrāṇāṃ ca paraṃtapa
dharmo vṛttaṃ ca vṛttiś ca vṛttyupāyaphalāni ca
2 rājñāṃ vṛttaṃ ca kośaś ca kośasaṃjananaṃ mahat
amātyaguṇavṛddhiś ca prakṛtīnāṃ ca vardhanam
3 ṣāḍguṇya guṇakalpaś ca senā nītis tathaiva ca
duṣṭasya ca parijñānam aduṣṭasya ca lakṣaṇam
 4 samahīnādhikānāṃ ca yathāval lakṣaṇoccayaḥ
madhyamasya ca tuṣṭyarthaṃ yathā stheyaṃ vivardhatā
5 kṣīṇasaṃgraha vṛttiś ca yathāvat saṃprakīrtitā
labhunādeśa rūpeṇa grantha yogena bhārata
6 vijigīṣos tathā vṛttam uktaṃ caiva tathaiva te
gaṇānāṃ vṛttim icchāmi śrotuṃ matimatāṃ vara
7 yathā gaṇāḥ pravardhante na bhidyante ca bhārata
arīn hi vijigīṣante suhṛdaḥ prāpnuvanti ca
8 bhedamūlo vināśo hi gaṇānām upalabhyate
mantrasaṃvaraṇaṃ duḥkhaṃ bahūnām iti me matiḥ
9 etad icchāmy ahaṃ śrotuṃ nikhilena paraṃtapa
yathā ca te na bhidyeraṃs tac ca me brūhi pārthiva
10 [bh]
gaṇānāṃ ca kulānāṃ ca rājñāṃ ca bharatarṣabha
vairasaṃdīpanāv etau lobhāmarṣau janādhipa
11 lobham eko hi vṛṇute tato 'marṣam anantaram
tau kṣayavyaya saṃyuktāv anyonyajanitāśrayau
12 cāramantrabalādānaiḥ sāmadānavibhedanaiḥ
kṣayavyaya bhayopāyaiḥ karśayantītaretaram
13 tatra dānena bhidyante gaṇāḥ saṃghātavṛttayaḥ
bhinnā vimanasaḥ sarve gacchanty arivaśaṃ bhayāt
14 bhedād gaṇā vinaśyanti bhinnāḥ sūpajapāḥ paraiḥ
tasmāt saṃghātayogeṣu prayateran gaṇāḥ sadā
15 arthā hy evādhigamyante saṃghātabalapauruṣāt
bāhyāś ca maitrīṃ kurvanti teṣu saṃghātavṛttiṣu
16 jñānavṛddhān praśaṃsantaḥ śuśrūṣantaḥ parasparam
vinivṛttābhisaṃdhānāḥ sukham edhanti sarvaśaḥ
17 dharmiṣṭhān vyavahārāṃś ca sthāpayantaś ca śāstrataḥ
yathāvat saṃpravartanto vivardhante gaṇottamāḥ
18 putrān bhrātṝn nigṛhṇanto vinaye ca sadā ratāḥ
vinītāṃś ca pragṛhṇanto vivardhante gaṇottamāḥ
19 cāramantravidhāneṣu kośasaṃnicayeṣu ca
nityayuktā mahābāho vardhante sarvato gaṇāḥ
20 prājñāñ śūrān maheṣvāsān karmasu sthirapauruṣān
mānayantaḥ sadā yuktā vivardhante gaṇā nṛpa
21 dravyavantaś ca śūrāś ca śastrajñāḥ śāstrapāragāḥ
kṛcchrāsv āpatsu saṃmūḍhān gaṇān uttārayanti te
22 krodho bhedo bhayo daṇḍaḥ karśanaṃ nigraho vadhaḥ
nayanty arivaśaṃ sadyo gaṇān bharatasattama
23 tasmān mānayitavyās te gaṇamukhyāḥ pradhānataḥ
lokayātrā samāyattā bhūyasī teṣu pārthiva
24 mantraguptiḥ pradhāneṣu cāraś cāmitrakarśana
na gaṇāḥ kṛtsnaśo mantraṃ śrotum arhanti bhārata
25 gaṇamukhyais tu saṃbhūya kāryaṃ gaṇahitaṃ mithaḥ
pṛthag gaṇasya bhinnasya vimatasya tato 'nyathā
arthāḥ pratyavasīdanti tathānarthā bhavanti ca
 26 teṣām anyonyabhinnānāṃ svaśaktim anutiṣṭhatām
nigrahaḥ paṇḍitaiḥ kāryaḥ kṣipram eva pradhānataḥ
27 kuleṣu kalahā jātāḥ kulavṛddhair upekṣitāḥ
gotrasya rājan kurvanti gaṇasaṃbheda kārikām
28 ābhyantaraṃ bhayaṃ rakṣyaṃ surakṣyaṃ bāhyato bhayam
abhyantarād bhayaṃ jātaṃ sadyo mūlaṃ nikṛntati
29 akasmāt krodhalobhād vā mohād vāpi svabhāvajāt
anyonyaṃ nābhibhāṣante tatparābhava lakṣaṇam
30 jātyā ca sadṛśāḥ sarve kulena sadṛśās tathā
na tu śauryeṇa buddhyā vā rūpadravyeṇa vā punaḥ
31 bhedāc caiva pramādāc ca nāmyante ripubhir gaṇāḥ
tasmāt saṃghātam evāhur gaṇānāṃ śaraṇaṃ mahat
http://www.sacred-texts.com/hin/mbs/mbs12108.htm

English translation by Kisari Mohan Gangu

Rajadharmanusasana Parva SECTION CVII

"Yudhishthira said, 'Thou hast, O scorcher of foes, described the course of duties, the general
conduct, the means of livelihood, with their results, of Brahmanas and Kshatriyas and
Vaisyas and Sudras. Thou hast discoursed also on the duties of kings, the subject of their
treasuries, the means of filling them, and the topic of conquest and victory. Thou hast spoken
also of the characteristics of ministers, the measures, that lead to the advancement of the
subjects, the characteristics of the sixfold limbs of a kingdom, the qualities of armies, the
means of distinguishing the wicked, and the marks of those that are good, the attributes of
those that are equal, those that are inferior, and those that are superior, the behaviour which a
king desirous of advancement should adopt towards the masses, and the manner in which the
weak should be protected and cherished. Thou hast discoursed on all these subjects, O
Bharata, laying down instructions that are plain according to what has been inculcated hi
sacred treatise. Thou hast spoken also of the behaviour that should be adopted by kings
desirous of conquering their foes. I desire now, O foremost of intelligent men, to listen to the
behaviour that one should observe towards the multitude of courageous men that assemble
round a king! 1 I desire to hear how these may grow, how they may be attached to the king,
O Bharata, how may they succeed in subjugating their foes and in acquiring friends. It seems
to me that disunion alone can bring about their destruction. I think it is always difficult to
keep counsels secret when many are concerned. I desire to hear all this in detail, O scorcher
of foes! Tell me also, O king, the means by which they may be prevented from falling out
with the king.'
"Bhishma said, 'Between the aristocracy on the one side and the kings on the other, avarice
and wrath, O monarch, are the causes that produce enmity. 2 One of these parties (viz., the
king,) yields to avarice. As a consequence, wrath takes possession of the other (the
aristocracy). Each intent upon weakening and wasting the other, they both meet with
destruction. By employing spies, contrivances of policy, and physical force, and adopting the
arts of conciliation, gifts, and disunion and applying other methods for producing weakness,
waste, and fear, the parties assail each other. The aristocracy of a kingdom, having the
characteristics of a compact body, become dissociated from
p. 234
the king if the latter seeks to take too much from them. Dissociated from the king, all of them
become dissatisfied, and acting from fear, side with the enemies of their ruler. If again the
aristocracy of a kingdom be disunited amongst themselves, they meet with destruction.
Disunited, they fall an easy prey to foes. The nobles, therefore, should always act in concert.
If they be united together, they may earn acquisitions of value by means of their strength and
prowess. Indeed, when they are thus united, many outsiders seek their alliance. Men of
knowledge applaud those nobles that art united with one another in bonds of love. If united
in purpose, all of them can be happy. They can (by their example) establish righteous courses
of conduct. By behaving properly, they advance in prosperity. By restraining their sons and
brothers and teaching them their duties, and by behaving kindly towards all persons whose
pride has been quelled by knowledge, 1 the aristocracy advance in prosperity. By always
attending to the duties of setting spies and devising means of policy, as also to the matter of
filling their treasuries, the aristocracy, O thou of mighty arms, advance in prosperity. By
showing proper reverence for them that are possessed of wisdom and courage and
perseverance and that display steady prowess in all kinds of work, the aristocracy advance in
prosperity. Possessed of wealth and resources, of knowledge of the scriptures and all arts and
sciences, the aristocracy rescue the ignorant masses from every kind of distress and danger.
Wrath (on the of part the king), rupture, 2terror, chastisement, persecution, oppression, and
executions, O chief of the Bharatas, speedily cause the aristocracy to fall away from the king
and side with the king's enemies. They, therefore, that are the leaders of the aristocracy
should be honoured by the king. The affairs of the kingdom, O king, depend to a great extent
upon them. Consultations should be held with only those that are the leaders of the
aristocracy, and secret agents should be placed, O crusher of foes, with them only. The king
should not, O Bharata, consult with every member of the aristocracy. The king, acting in
concert with the leaders, should do what is for the good of the whole order. When, however,
the aristocracy becomes separated and disunited and destitute of leaders, other courses of
action should be followed. If the members of the aristocracy quarrel with one another and
act, each according to his own resources, without combination, their prosperity dwindles
away and diverse kinds of evil occur. Those amongst them that are possessed of learning and
wisdom should tread down a dispute as soon as it happens. Indeed, if the seniors of a race
look on with indifference, quarrels break out amongst the members. Such quarrels bring
about the destruction of a race and produce disunion among the (entire order of the) nobles.
Protect thyself, O king, from all fears that arise from within. Fears, however, that arise from
outside are of little consequence. The first kind of fear, O king, may cut thy roots in a single
day. Persons that are equal to one another in family and blood, influenced by wrath or folly
or covetousness arising from their very

p. 235
natures, cease to speak with one another. This is an indication of defeat. It is not by courage,
nor by intelligence, nor by beauty, nor by wealth, that enemies succeed in destroying the
aristocracy. It is only by disunion and gifts that it can be reduced to subjugation. For this
reason, combination has been said to be the great refuge of the aristocracy.'" 1
Footnotes

233:1 The word is Gana. it literally means an assemblage. There can be no doubt that
throughout this lesson the word has been employed to denote the aristocracy of wealth and
blood that surround a throne.
233:2 If the king, moved by avarice, taxes them heavily, the aristocracy resent it and seek to
pull down the king.
234:1 i.e., learned men of humility.
234:2 Probably, with the king.
235:1 The Burdwan Pundits make a mess of the last two verses. In 31, there is an incorrect
reading in the Bengal texts. It is Pradhanaccha for pradanaccha. The Burdwan version
repeats the error. K.P. Singha, of course, avoids it, but his version is rather incomplete.
http://www.sacred-texts.com/hin/m12/m12a106.htm
Economic Hisory of Corporate Form in Ancient India (Vikramaditya Khanna 2006) by Srini
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